Kamron Coleman (B 1972) began his professional art career in his early twenties as a permanent gallery artist in Chelan, Washington where both sides of his family have roots. He spent 19 years as a self-employed stonemason, sculptor, and fabricator and finisher in many mediums for the construction industry. He secured Utility and Design patents for innovations in construction and wood-fired pizza ovens of his own manufacture. Kamron went on to stand up the sand-casting discipline at the world-renowned Walla Walla Foundry, where he pioneered radical metal casting techniques for elements of some of the most expensive contemporary art in the world.
Since meeting his wife, harpist Bethany Evans, Kamron moved to the Willamette Valley, Oregon, where he has collaborated directly with symphony executives to create symphony-specific fine art for fundraising for symphonies across the United States.
Kamron’s painting, “Derby Day” is a finalist for Churchill Downs’ official 2022 “Art of the Derby.”
Kamron’s work also reflects theological depth. He has created a display called, “Apotheosis”, an elaborate 40-foot-long scroll depicting ancient Near East temple themes, hypothesizing the polytheistic Indo-Iranian and Egyptian roots of Christianity.
His style is recognized for manipulating the viewer’s focus. In this age of high-definition imaging, Kamron’s work plays on themes of the more natural experience of seeing the world both in and out of focus.
Kamron welcomes organizational and private commissions and works by private sales.
THE GREAT ANTIQUITY OF CHRISTIAN ATONEMENT THEOLOGY
Three years ago I started a project without the end in mind. I simply wanted to express the sacred feminine as She related to her Son, as the comforting angel in Gethsemane, the mother of Jesus, the sister at the raising of Lazarus, and the bride of the Savior. Now this project is nearing its completion. It is a three-foot-wide and forty-foot-long scroll on canvas about the theology of St. John. Its title is:
APOTHEOSIS: St. John’s Key to the Mystery of Godliness.
My wife, Bethany, is a symphony harpist. I have marveled as she tunes the 47 strings on her concert grand harp before every performance and during every intermission. If a single string is out of tune, then the performance will be soured. The combined tension of the 47 strings on Bethany’s harp is thousands of pounds of force just waiting to be plucked with the expertise of her trained fingers. All of this is necessary before this beautiful but simple instrument of astounding engineering can produce music to match. That is the kind of beauty I seek from religion, a thing of beauty and simplicity, yet astounding in its engineering. Belief hasn’t come easy. But I have heard the master’s voice, and this is the arrangement he has made for my instrument.
Like everything else, religion is part continuum, part restoration, part new revelation, and part demolition. It doesn’t just appear out of nowhere. After a long ordeal of seeking, The Apotheosis Scroll is how the very old religion of Jesus of Nazareth has been tuned to resonate in my heart, to “turn the heart of the fathers to the children, and the heart of the children to their fathers” (Malachi 4:6).
The Apotheosis Scroll traces Christian atonement theology to its roots in the polytheistic temple mysteries of Egypt, Israel, Babylon, and India. This true vine was exemplified by Jesus of Nazareth and its sophisticated Persian symbolism spread from Jerusalem, in part, through Roman Mithraism. The Apotheosis Scroll celebrates a living body of scripture that springs from the yearning to holiness felt by people everywhere and through all time. Differentiated from monotheism, it is about a very old style of theology that found its primary expressions in art and ceremony, when the exaltation of the human soul was a family affair, accomplished by mother and father, and sister and brother, with the Son at the center of its revolutions.
Although it is based on the writings of St. John the Apostle, The Apotheosis Scroll isn’t pictures of Bible stories. There is no scene of the healing of the blind man, the woman taken in adultery, or the Beast and his mark. Rather, in the opening scenes of John’s Gospel, Jesus foreshadowed to Nathaniel that, “Hereafter ye shall see heaven open, and the angels of God ascending and descending upon the Son of man.” The Scroll is a conceptualization of this mystery that Christ thus cracked open, rolled out like a scene on a temple wall.
The temple is entered into through a doorway that like the birth canal, is only big enough for one to pass through at a time. It seems to be based on the perilous life or death ascension of the individual human soul through seven covenant seals, against a headwind of atrophy, deliberate distortion, groupthink conformity, and apostasy. It is represented here and in history as simultaneously ascending and descending serpents, or angels. (See Luke 10: 18-24). There is an upward flow and a downward flow or, like copper in a wire, there must be both negative and positive lines to light the bulb. Cycling in much the same way that oxygen-poor blood is exchanged for oxygen-rich blood in the heart, there are upbeats and downbeats, and there are valves and chambers. In more than one way, the Christ is the heart.
This monumental work contains 64 original artworks including hand-drawn diagrams and charts, and a 20,000-word essay. All the discreet components are being gathered digitally to create the gorgeous scroll file, which will then be printed on canvas, so that it can be exactly replicated to scale and viewed in its entirety online. Reproductions will be made available for sale, and ideally, the scroll and table will go on tour to universities and galleries to be accompanied by original artworks contained in the Scroll.